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The Utah Symphony Orchestra&Charles Ketcham -《希区柯克电影原声集萃》(Digital Premiere Recordings From The Films Of Alfred Hitchcock)[FLAC]

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  • 摘要:
    发行时间1985年
  • 时间: 2007/06/04 17:06:33 发布 | 2007/06/04 17:06:33 更新
  • 分类: 音乐  原声音乐 

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专辑中文名希区柯克电影原声集萃
专辑英文名Digital Premiere Recordings From The Films Of Alfred Hitchcock
版本[FLAC]
发行时间1985年
地区美国
语言英语
简介

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专辑介绍:

On this CD:

1.Family Plot, film score End Titles
Composed by John Williams
Performed by Utah Symphony Orchestra
Conducted by Charles Ketcham

2.Strangers on a Train, film score Suite
Composed by Dimitri Tiomkin
Performed by Utah Symphony Orchestra
Conducted by Charles Ketcham

3.Suspicion, film score Suite
Composed by Franz Waxman
Performed by Utah Symphony Orchestra
Conducted by Charles Ketcham

4.Notorious, film score Suite
Composed by Roy Webb
Performed by Utah Symphony Orchestra
Conducted by Charles Ketcham

指挥:The Utah Symphony Orchestra 帕维尔•柯冈
演奏:Charles Ketcham 普雷特涅夫







电影链接:

Family Plot 《家庭阴谋》又名:大巧局

上映年度:1976 主演:克伦•布莱克、布鲁斯•德恩
剧情讲述一名女性的冒牌灵媒卷入了一宗谋杀案之中,令到两家人为了钱财问题而展开勾心斗角。影片中的好人与坏人只关一线,结局有出人意料之妙。

Strangers on a Train 《火车怪客》又名:列车上的陌生人
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上映年度:1951 主演: 法利•格兰、杰鲁思•罗曼、罗伯特•沃克
希区考克,黑色幻想大师的细腻技巧在这部《火车怪客》里,探讨这个梦魇发生的可能性——这完美的犯罪演变成一个无可遁逃的陷阱。
《火车怪客》是希区考克最残暴惊悚作品之一,讲述一个可能发生的可怕故事,紧紧纠缠,使人心神不安,悬疑和死亡幽默,带入一个视觉壮观场面结尾,旋转木马无法控制疯狂地旋转……

Suspicion 《深闺疑云》
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上映年度:1941 主演:琼•芳登、加里•格兰特
《深闺疑云》(Suspicion)是希区柯克摄于1941年的名作。由琼•芳登与加里•格兰特主演。该片还为琼-芳登赢得了该年度的奥斯卡最佳女主角。
剧情:男主角强尼.艾斯嘉一直很有女人缘,他第一次和莉娜见面是在火车上,他知道莉娜是将军的女儿。莉娜也被强尼英俊潇洒的外表和风度迷住了,疯狂的爱使莉娜失去了理智。一场舞会之后,两人偷偷举行了婚礼,到欧洲各地旅行结婚。蜜月归来,莉娜才发现强尼原来是个一文不名到处举债的花花公子。她被强尼的谎言所欺骗,发现他各式各样的无耻行径。
很快,莉娜的父亲死了,强尼的老友比奇也突遭横死,莉娜十分怀疑是强尼所为,但又没有证据。她隐约觉得自己正处在一个阴谋之中,几乎到了精神崩溃的边缘……

Notorious 《美人计》

上映年度:1946 主演:英格丽•褒曼、加利•格兰特
国家大事与儿女私情,这是很多描写国家非常时期的影片中最常见的主题。在那个战争还未完全结束的年代里,国家利益是高于一切的,在这一点上影片体现出了鲜明的时代特色。如同那个年代的很多同类影片,在为国家奉献一切之后不圆满的爱情大大激发了观众的同情心。这部希区柯克作品,虽然有相当的篇幅充满了惊险和悬念,其实在很大程度上可以称之为一部爱情片。片中爱情所占的比重,甚至可以说是希区柯克作品中最大的一部。
影片以爱情与家国的矛盾冲突为血肉,以悬念惊险为形式,两大特色并驾齐驱相得益彰,堪称最能体现希区柯克风格的佳作之一。而舞会酒窖一段、结尾救出莉亚一段,则是二者结合最为完美的经典段落。
本片被评为最卖座的希区柯克影片之一,“堪称希区柯克电影的登峰造极之作”。

原声链接:

指挥:The Utah Symphony Orchestra 帕维尔•柯冈
帕维尔·柯冈现任莫斯科国立交响乐团音乐总监、首席指挥。1952年出生在俄罗斯一个由众多音乐大师组成的音乐世家。帕维尔·柯冈12岁首次登台,引起了音乐界的轰动,那是一场由音乐爱好者组织的音乐会,他的父亲——20世纪最伟大的小提琴演奏家之一莱昂尼德·柯冈、他的母亲——前苏联著名钢琴家艾丽查维塔·吉利尔斯和他一起表演“家庭三重奏”。顺便提及他的舅舅是埃米尔·吉利尔斯――中国的乐迷非常喜欢的钢琴家。从音乐学校毕业后,帕维尔·柯冈又继续在音乐学校攻读了小提琴演奏和指挥两个专业,由此得以深入地探索不同门类艺术之间彼此的联系。在音乐学院,柯冈幸运地拜在莫斯科国立交响乐团的创始人之一——里奥·金茨伯格的门下学习,从而为他日后的发展打下坚实的基础。

1970年,18岁的柯冈凭借优异的小提琴演奏天赋,获得了西贝柳斯国际小提琴比赛的一等奖,此后,他便频繁地与来自俄罗斯、欧洲、美国以及亚洲的交响乐团合作,包括世界著名的费城交响乐团和洛杉矶爱乐乐团。

柯冈在小提琴演奏上所取得的非凡成就,为其投身指挥艺术奠定了重要基础。他认为弦乐器是管弦乐队中的基石,是乐队音响的核心。帕维尔·柯冈第一次以指挥的身份站在舞台上时还不到19岁。1974年,他第一次执棒就是指挥前苏联最顶尖的乐团——列宁格勒(圣彼得堡)爱乐乐团演出。在随后的几年里,帕维尔·柯冈又陆续指挥苏联国立交响乐团、苏联广播电视国立交响乐团、列宁格勒爱乐乐团、莫斯科爱乐乐团和莫斯科大剧院交响乐团,以及来自欧洲、美洲和日本的顶尖交响乐团。柯冈还经常以客座指挥家的身份参加在赫尔辛基、蒙特利尔和布拉格等地举办的音乐节。1988年,帕维尔·柯冈接到了南斯拉夫萨格勒布爱乐乐团的邀请,出任该乐团的音乐总监与首席指挥。

帕维尔·柯冈一向十分重视本国的交响乐团。1989年,莫斯科国立交响乐团团员全票表决通过,帕维尔·柯冈二度走马上任。帕维尔·柯冈凭籍音乐方面的天资以及在弦乐演奏方面渊博的知识,促使乐团在保持优秀传统的同时不断创新。通过上演一系列西方作曲家的作品,使乐团取得了长足的进步。贝多芬、门德尔松、勃拉姆斯、舒曼、布鲁克纳、柴可夫斯基、拉赫玛尼诺夫、肖斯塔科维奇以及马勒等作曲家的全套交响乐是乐团世界巡演的保留曲目。1977年,柯冈因上演马勒交响曲全集及声乐作品而获得“苏联国家津贴”,同年成为“俄罗斯艺术研究会”会员。作为指挥他与尤里·巴什米特、斯塔克、雷宾、温格洛夫等很多国际知名的独奏家合作演出音乐会。

1998年帕维尔·柯冈出任美国犹他州交响乐团的首席客座指挥。在演奏之余,帕维尔·柯冈致力于投身音乐教育事业。

演奏:Charles Ketcham 普雷特涅夫2007年4月
五十岁生日,获俄罗斯总统普京颁赠「第三级祖国功勋勋章」。
2006年9月
俄国导演Pavel Lungin开拍以作曲家拉赫曼尼诺夫一生为蓝本的电影「丁香花」(Lilacs),由普雷特涅夫为剧中拉赫曼尼诺夫一角幕后代弹。
塔涅耶夫室内乐专辑获得《留声机》唱片大奖「最佳室内乐」专辑塔。
2006年6月
普雷特涅夫获俄罗斯总统普京颁赠俄罗斯国家奖。颁奖典礼于六月十二日在莫斯科克里姆林举行。颁奖典礼于六月十二日在莫斯科克里姆林举行。
2005年12月
俄罗斯「胜利基金会」七日宣布普雷特涅夫等五名艺术家获得「胜利奖」,颁奖典礼将于明年一月二十三日在普希金美术馆举行。
…………

英文原介:

This marvellous album was first released in 1985, when I snapped it up in its LP format. It is now on CD, though it may be difficult to find, and is currently not listed even on the official Varèse Sarabande website.

Tiomkin's score for Strangers on a Train is simply magnificent. It towers over all the other music on this album. And that is some statement for all the other works have stature. The 16minute plus Strangers... suite opens with one of Tiomkin's most powerful and memorable ‘Main Titles’. Here is Tiomkin's pronouncedly individual style, with its great rhythmic energy, magnificent tunes, and opaque rough-edged sonorities. In this Hitchcock thriller Farley Granger is Guy, a champion tennis player who is approached on a train by Bruno (Robert Walker) who proposes they swap murders. He will kill Guy's unsympathetic and unwanted wife while Guy kills Bruno's over-dominant father. The music for Guy reflects his somewhat passive character, while Bruno's music denotes his mania in the demonstrably glassy, ghostly tones of high violin harmonics. These two themes (both heard in the main title) are heard to spectacular effect in the tennis match scene, in which Guy has to race against time to finish his game and prevent Bruno planting incriminating evidence in the form of a cigarette lighter. Ketchum and the Utah players succeed magnificently in screwing up the tension implicit in this wonderfully thrilling music.

For Hitchcock's last film, Family Plot, John Williams provided a sparkling score that helped to lift this disappointingly tensionless black comedy of errors. The album includes the polished and elegant 'End Titles' that summarise all the main themes including the wordless female voices representing the "mystical" aura - complete with phoney crystal ball - which surrounds Blanche; and the glittering, elegant harpsichord theme. Who knows what might have developed from a partnership of Williams and Hitchcock?

Franz Waxman's music for Suspicion is full of atmosphere and suspense; it is also thoroughly English-sounding as is appropriate to its setting. (this was the second Hitchcock 'English' story filmed in Hollywood that Waxman had scored, the first being Rebecca). The opening 'Main Titles' music has a glitter and glamour that is infectious although there are shadows lurking. For 'Sunday Morning', as Cary Grant courts Joan Fontaine, the material is mainly sunny, optimistic and upbeat as Fontaine is elatedly swept off her feet. Yet again there are passing clouds, particularly in that brief, enigmatic, cold long shot where the sky darkens and it appears that Grant's embrace has something sinister and threatening about it. The mood darkens as Fontaine discovers that her husband is an irresponsible playboy fond of gambling, and a spendthrift and a liar. She suspects that he has killed his best friend and that he maybe intending to kill her next. The music swirls menacingly and for the famous scene where Grant races along the cliff road with Fontaine thinking he is about to push her out of the car, Waxman provides a thrilling, pounding accompaniment ('Too Fast') that screws the tension up to fever pitch.

The least well-known composer represented in this collection is Roy Webb, who did such sterling work at RKO Radio. Hitchcock's Notorious inspired Webb to write one of his best scores. The ‘Main Title’ impresses with an urgent note of danger and intrigue contrasted with a memorable sweeping romantic theme for Cary Grant and Ingrid Bergman. This short suite includes Webb's tense, strongly characterful and evocative music for Sebastian (Claude Rains) as he detects Grant's intrusion and discovery of the uranium hidden in his wine cellar; and the equally suspenseful music for the scenes where Bergman lies poisoned by Sebastian and his mother, before she is rescued by Grant; and finally to underscore Sebastian's doom as he faces the wrath of his fellow Nazi conspirators.

For those who have the LP version of this recording I suggest they keep treasuring it because it sounds richer and fuller than this CD incarnation - yet, notwithstanding this setback, the album is strongly recommended.



感谢原创者ROB42的无私分享!



专辑曲目

01. Family Plot: End Credits 3.54
02. Strangers on a Train: Main Title and Approaching the Train/Ann and Guy 16.03
03. Suspicion: Main Title/Sunday Morning/The Chairs Are Back/Melbeck's ...12.01
04. Notorious: Main Title/Unica/Troubled Mind/Alicia Collapses/Finale ...5.48

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